Thursday, February 28, 2008

A Neat Escape

Effect: You escape from a rope.
Secret: Ask someone to tie your wrists together with a large scarf. A long length of soft rope is now placed between your wrists and someone holds the ends. Another scarf is thrown over your bound wrists. As soon as your hands are out of sight move your hands back and forth to cause the rope to form a loop between your wrists. Keep working the rope until you can get one hand into the loop. When you have done this ask the person who is holding the rope to pull – the rope will come free and yet your wrists are still securely tied!


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Monday, February 25, 2008

Spelling Bee

Effect: Ten cards are counted in a magical manner.

Secret: The cards you use have been secretly arranged in the order shown. The actual suits do not matter. Run the cards, one at a time, from hand to hand. This reverses the order so the Nine is now on the top. Place the 10 cards on the pack. To show the trick count off 10 cards (this gets the arrangement back to normal, with the Three on top). Take the cards one at a time from the top of the packet and place them on the bottom as you spell A C E (one card to each letter). Turn over the card on the E and it is an Ace. Drop this card on the table. Now spell T W O – again moving one card from the top to the bottom of the packet for each letter. Turn over the "O" card, a Two, and drop it on the table. Continue spelling in this way until you get to 10. For the 10th card you have only one card left but pretend to spell the letters as before to amuse your audience.


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Thursday, February 21, 2008

Sum Trick!

Effect: You predict the total of a sum.

Secret: Write 1089 on a piece of paper, fold it and place it on your table. Ask someone to choose any three-digit number. All three digits must be different and the first must be higher than the last. Get them to reverse the whole number and write that underneath the first. If, for example, he chose 983 he now writes 389. The lower number is then subtracted from the other. The answer (which, in this example, is 594) is then reversed and this time the two are added together. Open the paper – your prediction is the same as the spectator's total. In fact, if the calculations are done correctly, the answer is always 1089!


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Kings And Aces

Effect: Two playing cards make a mysterious journey.

Secret:
You need a special playing card. First glue an Ace of Spades and a King of Diamonds back to back. Cut an Ace of Clubs in half lengthways. Glue this on top of the Ace of Spades. Now glue a smaller strip of another King of Diamonds on top of that. Hold a King of Hearts against the special card and it looks like four cards. Place the four cards in a box. Bring out the King of Hearts and place it in another box. Secretly turn the special card over and bring it out, showing the King of Diamonds. Also place this in the other box. Show the first box empty. The Aces have vanished. Take all four cards (really only two) from the second box, showing them as you did before. It seems that the Aces have magically travelled across.


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Tuesday, February 19, 2008

The Mystic Seven

Effect: You predict which pile of cards a spectator will choose.

Secret: One a piece of paper, you write: "You will choose the Seven pile". The paper is then folded and given to a spectator for safekeeping. You now take several cards from a pack and arrange them in three face-down piles. The three piles are formed as follows: Pile One: Any seven cards. Pile Two: The four Sevens. Pile Three: An Ace, a Two and a Four (which add up to seven). A spectator is given the choice of any of the three piles. Whichever pile is chosen the prediction is always correct.



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The Triangle Trick

BY WAY of showing the higher flights to which the use of double cards may be put, a detailed description and explanation of this trick devised by David Devant, the great English magician, follows: Having invited a gentleman to occupy a chair facing the audience the performer begins by calling attention to a complete pack of cards displayed on a blackboard on an easel and also to a quantity of wide ribbon. He removes the two top rows of cards, half the pack, drops them face downwards on a tray and asks the spectator to take them, cut the pack and put the halves together face to face and then to twist the center part of the ribbon several times around the cards. He then gives the two ends of the ribbon to two ladies seated at the extreme right and left of the front row, forming as he explains 'The Triangle' of which the spectator is the Apex. He removes the other half of the cards from the easel and puts them face up on the tray. Each of the ladies is then asked to mentally select one card. This done he gathers up the cards and asks each lady to hold the packet in turn at the end of their ribbon and to wish the card thought of to leave the packet and go to the gentleman's at the Apex. The ladies name their cards, the packet is spread out and the cards are no longer in it. The spectator unwinds the ribbon from his packet and in it he finds the two cards mentally selected.

Method:
A prepared pack, several yards of wide ribbon, an easel with a blackboard having four thin strips across it to hold the cards, a tray and a chair are required. One half of the pack consists of double-faced cards, the cards on the backs being duplicates of the unprepared half of the pack. The cards are placed on the easel so that the two top rows are the ordinary cards, the two bottom rows are the double-faced cards. They overlap a little so that they can be picked up quickly. The performer takes off the two top rows, which the spectator puts into a faced packet and then winds the center part of the ribbon round it. The two ends of the ribbon are handed to the two ladies. He takes the two remaining rows from the easel and secretly turns them over in getting the tray, thus bringing the duplicates of the cards wrapped in ribbon into view. Each lady in turn is asked to merely think of one of these cards. He gathers up the cards, has each lady hold them to her end of the ribbon and as the cards are named he secretly turns the packet again. Naturally the two cards are no longer to be seen. Since duplicates of these cards have been in the packet wrapped in the ribbon all the time, the spectator on the stage finds them and the trick is brought to a successful end. In the meantime the performer has had ample opportunity to drop the double-faced cards into his pocket and bring out the twenty-six cards necessary to make up a complete pack. This he hands to the spectator for inspection.


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Elimination Extraordinary

EFFECT:
A pack of cards is handed to a spectator who shuffles it thoroughly and retains possession of it (the magician does not touch the pack from first to last). Performer writes a prediction on a slip of paper which is placed in an envelope and held by a spectator. The cards are dealt into a number of piles until after a process of selection and elimination by the person who deals, one card only is left face down on the table. The prediction is read, it is the name of the very card that has been left on the table.


METHOD:
The pack used is a one-way pack in which all the cards have been set the one way with the exception of one which is reversed. It is the name of this card which the performer writes on a slip of paper and seals in an envelope. The pack is shuffled, overhand fashion, and cut as often as the spectator may wish. He is then instructed to deal the cards into a number of face-down piles. The performer has simply to note in which pile the reversed card falls and by playing upon the words 'take' and 'leave' interprets the spectator's choice in such a way that that pile only remains, the others being eliminated. The cards in the pile are again dealt into several heaps and again he notes which contains the reversed card. The process is continued until finally one card only, the reversed card is left on the table. The trick should be carried through in a breezy style, without giving the spectator too much time to think.


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Monday, February 18, 2008

The Mesmerized Coin

EFFECT: A half a dollar coin stands on its edge on the back of the index and second fingers, as if balanced; at your command it lies down very slowly, as if mesmerized


THE HOW: This effect has never failed to mystify either the laymen or magicians. A half a dollar piece is borrowed from one of your customers, taking the coin with the right hand. In your left band you are holding a straight pin. Bring the coin to the left and place the pin behind the coin, head down, point up. As you place its edge resting on the back of your index and second fingers, close to the nails, on the right hand; the thumb of the left hand slides the head of the pin down bringing it between the two fingers. Grip the head of the pin eight and naturally the coin will look like it is standing on the back of your fingers when really it is resting on the pin. If the pressure on the head of the pin is released gradually, the coin will fall slowly while you repeat the words, “Lie down... Lie down.” Once the coin has finished its trip to the, back of your fingers, you bring the hand forward offering the coin for examination, separating your fingers just a little bit; this will cause the pin to fall behind the bar or on your lap if you are sitting, when you do the trick.


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Heads Or Tails

EFFECT: You bet to anyone that if they spin a half dollar coin, while your back is turned to the bar, you can invariably guess if the coin falls heads or tails up.

THE HOW: With a keen edged pocket knife or the bar knife cut a small nick on the edge of the coin, lithe nick is made on the tail side and if the coin falls on that side, at the end of the spin, it will do it sharply and briskly and head will be up. But if the end of the spin is long and smooth, it is landing on head, tail is up.


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Saturday, February 16, 2008

The Removable Thumb

Effect: You appear to remove your thumb!
Secret: Practise this in front of a mirror. Hold out your left hand with the palm facing you. Bend your left thumb in half towards your body. Bend your right thumb in half and place it alongside the left (see figure 1). Place your right forefinger over the front of the two thumbs where they touch (see figure 2). Move your right hand to the right and it looks as if you have removed your thumb (see figure 3). This trick should be done only to people who are directly facing you.


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Stop!

Effect: A matchbox obeys your commands.

Secret: Run a thread through the end of a matchbox drawer (see figure 1). Put a small eraser or a block of wood in the drawer on top of the thread (see figure 2) then close the box. You are now ready to show the trick. Hold each end of the thread, with one hand above the other. The matchbox should be near the top of the thread. If you hold the thread loosely the box will slide down the thread but if you secretly tighten the thread the box will stop (see figure 3). With practice you can make it stop or go at your command.



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Ring On

Effect: A ring is magically threaded on a string.

Secret: Place the string and ring supplied on a table, together with a safety pin and a handkerchief. Cover the string, ring and pin with the handkerchief. Allow the ends of the string to remain visible at all times. Place your hands beneath the handkerchief and push the centre of the string through the ring. Open the pin then close it so it goes around the right side of the loop and the rest of the string (see figure 1). Put your left forefinger into the loop (see figure 2). Remove your right hand and lift up the right end of the string and ask someone to hold it. At the same time move your left hand along the string (keeping your finger in the loop) until you reach the end. Remove the handkerchief and show that the ring and pin are now on the string (see figure 3).


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Bewildering Beaker

Effect:
A beaker vanishes.

Secret:
The beaker is glued to a small wooden tray. In the centre of a scarf sew a circle of cardboard. Show the beaker then cover it with the scarf or handkerchief. Lift the scarf (holding the cardboard disc so it looks as if you are holding the rim of the beaker) and turn the tray towards you. Stand the tray against something on your table – with the beaker side away from the audience. Everyone believes you are holding the beaker. Throw the scarf in the air and catch it as it falls – the beaker has vanished.


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Wednesday, February 13, 2008

THE PREDICTION

EFFECT:
Most of the bars have a leather cup and five dice. Ask anyone to throw the dice, while your back is turned, add all the faces of the dice (tops) to the bottoms, immediately announce his addition; ask him to throw the dice once again and add all the top faces to the total he already has, keeping it to himself Turn around tell him how much he has added.

THE HOW:
All dice add top and bottom: Seven, five dice, naturally, thirty-five, on his second throw he adds the tops and has his total, when you turn around all you do is to add 35 to whatever total the top faces add and you have the grand total. For example the man throws the dice and the top faces read 146-2-5 the total of the top faces will be 18, next he adds the bottoms by lifting the dice 6-3-1-5-2 total 17 plus 18 is 35, he throws once again and the faces read: 6-6-4-3-1 total 20 plus 35 is 55. Practice the trick by yourself a couple times before you do it.


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Monday, February 11, 2008

Ring And String

Effect: A ring threaded onto a loop is released, although a spectator is holding the string.

Secret: Read PREPARATION carefully to see how you can solve this puzzle.

Props: Any ring and one cord. Preparation: Get someone to help you practise this item before presenting it. Tie one piece of cord into a loop (circle). Slide the ring onto one end of the loop. Have your friend hold up his fingers. Put each end of the loop over one finger (see figure 1) but not too tight. Take a section of this cord and make another loop over the finger on the other side of the ring (see figure 2). Be sure you put the second loop below the first loop on the finger. Take the original loop and carefully lift it above the finger (see figure 3). Tell the holder to tighten up on the cord. As he does, you let go of your loop. The ring will fall free even though the string is still on his fingers. You will have to practise this a number of times before you can expect to do it smoothly.


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Cup Through Table

Effect:

A cup or glass vanishes when wrapped in a sheet of paper.

Secret:
A piece of paper wrapped around the cup or glass will retain the shape of the cup – even after the magician has secretly dropped the cup into his lap.

Props:
A cup or glass, any small object and a sheet of newspaper or tissue paper.

Preparation:
Select a piece of newspaper slightly larger than the cup so that it will cover it completely with some overlap.

Presentation:
Place the cup over any small object and wrap the paper around it. Ask the audience what is under the cup. Everyone will, of course, suspect that you are about to vanish the object. Lift the paper and cup to reassure everyone that the object is still on the table. Moving the wrapped cup slightly towards you, just clear of the table relax your hold so that the cup is allowed to quietly drop into your lap, out of sight of the audience, of course, whose attention is still focused on the object.The paper will retain the shape of the cup. When you again place the paper over the object, you must maintain the illusion that you are replacing both paper and cup. Wave your hand mysteriously over the "cup" and claim that you will make the object vanish. When you lift the "cup" the object is still there. Remove the object but replace the "cup". Tell the audience that something must have gone wrong and you are unable to vanish the object, so you have decided to vanish the cup instead! At that moment dramatically smash your hand down onto the paper which will flatten, giving the appearance that the "cup" has penetrated the table. Bring the cup from under the table (removing it from your lap, in one smooth movement) and replace it on the table.


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Sunday, February 10, 2008

Card To Ashes

Effect:
Magician fans through a deck of cards and the spectator is invited to touch one. Performer then shows the spectator the card they touched and tells them to memorize it. The spectator is asked to write the name of their card on a piece of paper and fold it up. Performer then lights the paper on fire, rolls up his sleeve and wipes the ashes on his forearm. Suddenly the name of the chosen card is revealed on his arm!

Secret:
The chosen card must be forced. Carve a piece of soap to the width of a pencil with a sharp point to write with. Wet the tip of the soap pencil a little and write the name of the forced card on your arm. The ashes will stick to the soap.


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Psychic Test

Effect:
The magician tells an audience member to touch the ace of spades. The magician lays the card down and tells another member of the audience to touch the 10 of clubs and another to touch the king of spades. The magician asks everyone to recall his or her cards and all three are correct.

Secret:
The secret is in the fact that the audience never sees the card until the end. You begin by predicting the card that is actually on the bottom of the deck, this is why the you lay the cards down. Before you lay the card down though, you look at it (tell them your making sure they are right). This is the next card you will tell someone else to touch. Once they touch their card you look at it again and lay it down. Of course this is the next card that will supposedly be touched, but you need the next person to touch the bottom card. There are three possible ways of dealing with this:
1.You can touch the last card yourself
2. You can ideally have help from a friend
3. You can use more than 3 cards every time a card is chosen, put the top half of the deck to the side and have them pick the next card from the bottom half รข€“ usually this works pretty well, but it takes longer and if you make it work it is the most effective method, especially with larger groups of people.


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Behind The Back

Effect:
A spectator shuffles a deck of cards and hands it to the magician while his back is turned. The magician holds the deck in front of him, showing the bottom card of the deck to the audience only, and the audience to name that card. The magician does this a few times, shuffling the cards behind his back and showing the bottom. After the about the third time, the performer begins announcing the names of the cards himself. This is repeated several times, the magician is always right!

Secret:
While the deck of cards is behind your back, pretend to shuffle the deck and take the top five cards off. Flip these cards over, face-up, and lay them back on top of the deck. Hold the deck up for the audience to see, without looking at the bottom card. Looking at the back side of the deck, remember the card that is flipped over. Put the deck of cards behind you again, turn the top card you just looked at over and place it on the bottom of the deck. Now show the bottom of the deck again, this time announce the card you just remembered. Note the card on the back as before, and repeat the process until all five cards have been turned over.


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Twenty Cards

Effect:
The magician sets twenty randomly selected cards on the table, face up. While the magician is out of the room, each of the spectators mentally select a different pair of cards. The performer randomly places the cards in rows of five. Each of the spectators point to the two rows that their cards are in, and the magician immediately picks up their pair of cards.Secret: The cards are not actually placed at random, instead a formula is used to place them in a special self-working pattern. Imagine that you see these four rows of words spelled with big letters across the table: start, bells, brooz, and dazed. Start by placing the first pairs of cards on each imaginary S, then on each T, and on each A and R. Continue going down the rows, placing the each of the pairs of cards on the next pair of letters in the formula. Now as the spectators point to the rows their two cards are in, you pick up the only pair of cards in these rows.

Method:
Practice placing the cards in this formula, until you can do it fast enough to look natural. Place the twenty cards in pairs on the table first, leave the room, and ask the spectators to select their pair of cards. Do not put them in their special order until you have re-entered the room. This will also give the spectators less time to over think the entire process. When you enter the room, pick up the cards and quickly lay them in the special order. Now if they say their item is in the first and last row you know it is the object in the place of the letter A. If their item is in the second and third rows, then the letter B will be your key. You will notice that you do not necessarily need to use the letters to find the pairs, simply use the formula to place the cards in their self-working location.


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Saturday, February 09, 2008

The Pyramid

EFFECT:
While in a barroom or lounge you are liable to learn things you never
heard or saw in your life. While visiting a lounge in Erie, Penna., the writer saw a
man who had sufficient drinks to behave like a child. One of his antics consisted
in making a pyramid out of three liquor glasses, the type used to serve Cramp de
Cacao or Benedictine. They were stacked on top of each other; the bottom one contained a small amount of beer, the second and first, above, were empty. He challenged his friends to lift the two top glasses, keeping them suspended without the use of his hands or outside help while at the same time he drank the contents of the bottom glass.

THE HOW:
The glasses were stacked as shown on the illustration. He lighted a match letting it burn for a little while, then dropped the match inside of the top glass; immediately he bent over and applied his right cheek to the opening of the top glass. The match went out but created a vacuum and suction which made the glass stick to his cheek. The operation was repeated with the second glass and this time he had one glass attached to each one of his cheeks. It was funny! Next he bent dawn forward and picked the third glass with his mouth and straightening up drank the contents of the third. The stunt always brings laughter.


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The Phantom Cocktail

EFFECT:
The bartender brings his shaker upon the counter and proceeds to pour the different components of a cocktail, in small portions, and then, after a few shakes you remove the shake glass, place a cherry in the cocktail glass and when you try to serve the drink, nothing comes out of the shaker, telling your customer, “Well, it is only the ghost of a drink!”
THE HOW:

In this trick you keep your friends guessing all day long. You never show them the shaker which contained a bar rag, nicely folded and stuck in the bottom of the shaker. This rag or piece of towel will suck all liquids poured in the shaker, nothing coming out when the shaker is turned upside down.


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The Coin Divination

EFFECT:
Bring a handful of beer caps on the top of bar and ask your victim to select the three he likes the best, the others are taken away. Borrow a twenty-five cents piece from one of the people watching the trick and after a paused examination say, “This one will do.” Ask anyone to cover the quarter with anyone of the three beer caps, while your back is turned to them. Upon facing the bar again you look at the beer caps again and pick the one under which the coin is hidden. The trick can be repeated over and over again.

THE HOW:
The secret is a very old one. You have a quarter of your own which has been previously prepared by gluing a piece of brown human hair one quarter of an inch long to the edge of the coin so it will stick out of the edge of the beer cap. While you apparently are examining the beer caps you are only looking far the end of the hair. The average bar counter is of a dark color making the hair undetectable to the person who does not know the trick. The way to substitute your quarter for the one you borrow is very simple; most bars have lights under the counter, and you know very well that when anything small is handed to a bartender, he generally brings his hands under the counter lights to examine it. Then is the time to drop the borrowed coin on a towel or the ice and retain the prepared one, which is used for the trick. Not one person out of a thousand will ever find the secret.


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Friday, February 08, 2008

Tightrope Balancing Ball

Effect:
A two or three-foot rope is held tightly between the performer’s hands. The performer proceeds to balance a ball on the rope and mystically the ball rolls from one end of the rope to the other.

Secret:
A thin piece of black thread almost as long as the rope is used to build a track for the ball to roll on. Tie both ends of the thread near the ends of the rope leaving just a little slack. Facing the audience, hold the rope tight with both hands at opposite ends, the thread should be behind the rope. Insert your thumbs between the rope and the thread to spread them apart from each other, this is what creates the secret track. Now your ping-pong ball or hollow billiard ball can be rolled back and forth on a single piece of rope. This can be effectively used in a billiards routine or a rope routine.



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The Runaway Knot

Effect:
The performer takes a piece of rope and allows the spectator to cut it in two. The two ends of the rope are then tied together, and then held up. The magician slides the knot down the length of the rope, and makes it vanish.

Secret:
Take a three or four foot piece of rope and tie the ends together to form a loop. Start by holding the rope in your right hand, laying the knot of the loop across your face up palm. Take your left hand, palm face down, and place your hand into the backside of the loop and grab the other half of the rope with your left hand. Bring your hands together and lay the other piece of rope in your right hand, twisting your hands back to their natural position. This should cross the strings twice forming a small lock, immediately cover this lock with your right hand as you are bringing your hands together. Hold the rope with your left hand a few inches away from your right, and ask a spectator to cut the rope in between your hands. Covering the lock with your right hand still, it looks like two pieces of rope of the same size, hanging side by side. Now tie the two loose ends hanging from the top of your hand together without revealing the hidden lock, this knot can now be slid up and down the rope. Slide the knot off the rope to finish.



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The Classic Rope Trick

Effect:
The performer cuts a rope into two equal pieces with a pair of scissors, and ties the ends back together with a small knot. The rope is quickly restored to its original state and the knot vanishes.

Secret:
This should be done with a three or four-foot rope, preferably a thin soft white rope. Hold the first end of the rope (A) under your thumb allowing the end to barely protrude in your left hand, palm facing you. Grab the other end of the rope (D) with your right hand and place it in-between your first and second fingertips in your left hand. Place your right hand fingers under the bottom of the loop at the middle of the rope and bring it straight up to your left hand, lifting the rope with it. Just before you bring the loop up to your left palm, use your first finger and thumb to grab the rope behind your palm a half inch away from the first end (A). Bring this piece of rope through the big loop, and place the resulting smaller loop under your thumb between the two ends of the rope. Cut the fake loop making two new ends (B, C) and apparently two equal lengths of rope to the spectators. You actually have one real short piece on the left and one piece on the right almost the length of the original, both locked together by a loop behind your left hand. Drop both of the two ends of the longer rope (B, D) on the right side of your hand nearest your fingertips, hold the ends of the short rope (A, B) keeping the secret loop still hidden with your left hand. Close the last three fingers of your left hand into a fist around the rope, and tie the ends of the shorter rope (A, B) together around the longer piece and drop one end.
Holding one end of the rope now with your left hand, announce that you have restored the rope and wait for the laughs and haggling. Take the rope with your right hand, holding it by the knot, and wrap it around your left hand allowing the knot to slide off the rope as you do. If this step is done fairly fast no one will realize you are removing the fake knot. Reach into your pocket for some magic wizard dust, drop the fake knot into your pocket, and sprinkle the dust over the rope. Unwind the rope and hand it out for examination.



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Color Changing String

Effect: A white shoestring is held up for everyone to see, the magician passes his closed fist down the string, instantly changing it from white to black. The shoestring is then handed out for examination.

Secret: Two shoelaces are used in this performance, a black shoestring and a hollow white shoelace. Cut a small opening in the white shoelace and thread the black shoestring through the hole, so that the black lace is completely covered by the white lace. Hold up the lace with your right hand covering the hole in the white lace. Using your left hand, slide the white lace down while holding the black string with your right hand. The black string can be glued into the white shoelace for convenience, but for a better effect don't glue it so that the white shoelace can be hidden and the black shoestring can be examined.



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Thursday, February 07, 2008

Changing A Dollar Bill To Quarter

A startling effect, easy to perform. The performer borrows a dollar bill, preferably an old bill or one that is worn or soft. He takes the bill in his right hand and stuffs it into his left hand which is closed, apparently wadding it into his closed hand. He next reaches into his pencil pocket for his pen or pencil, stating as he does, “This is my magic wand,” waves the pencil around the left hand containing the dollar bill, opens the left hand and throws the quarter on the bar. The bill has vanished.

THE HOW: Secure a thumb tip, available at any magical supply house. Before starting the trick have the thumb tip and the quarter concealed in the left hand. The thumb tip is held with the mouth up. Borrow a dollar bill and push it down into the closed left hand, into the thumb tip, wadding it well with the right forefinger then a final push with the right thumb so that the tip remains on the thumb. As you reach for your pencil in your left pocket drop the tip in the pencil pocket as you remove the pencil. Wave the pencil around your left hand, open your hand and throw the quarter on the counter.



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Smoke HighBall


EFFECT: Two highball glasses are used, empty, of course; both should be rinsed out before the experiment, in order to supply humidity for the trick.

THE HOW: Take a big puff out of your cigarette and bringing one of the glasses to your lips, as if to take a drink out of it make a round opening with your lips; allow the smoke escape slowly into the glass. A thick cloud of smoke will roll out lazily toward the bottom of the glass, filling it completely, provided you do not allow any air to come out of your nostrils. The next step is to bring the glass full of smoke to the other empty glass, resting the edge of one glass on the edge of the other, and proceed to empty one glass full of smoke into another empty glass, as if pouring. The effect is beautiful and weird at the same time. People do not imagine that it is possible to pour smoke from one container to another as if it were a liquid.

When poured back into the original glass, bring it to your lips, slowly, and start inhaling slowly too while you tilt your head back and raise the bottom of the glass, exactly like when you are taking a drink; actually, the smoke will do what water or any other element does.


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CIG-O-SILL


EFFECT: A cigarette is borrowed from one of the customers and quickly immersed into the beer the customer is drinking. The beer is shaken out and the cigarette placed between the flat palms and rolled back and forth between the palms, then the hands gracefully unroll a dollar bill and the cigarette has completely vanished. An excellent and baffling effect and easy to perform.

THE HOW: Take a cigarette and roll it between the hands until all the tobacco has fallen out. You now have the empty paper roll without the tobacco. Take either a one dollar or a five dollar bill and roll it into a tight cylinder. The most effective way is to fold the bill over once then start rolling at the crease. This should produce a tight cylinder the length of the cigarette but rolled tight enough so the bill will slip easily into the cigarette replacing the tobacco. After the bill is in the cigarette roll it gently so that the bill will unroll and fill the cigarette this giving it the appearance of an ordinary cigarette. PLACE THIS DUMMY CIGARETTE IN YOUR POCKET.
NOW borrow a cigarette, and with the borrowed cigarette in your hand reach in your pocket for a match. EXCHANGE THE BORROWED CIGARETTE FOR THE DUMMY and bring the dummy and the matches out together. Then say, “Before I smoke I would like to show you a little experiment.” IMMERSE THE CIGARETTE quickly in the beer or any liquid. Place the wet cigarette between the palms and start rolling and rubbing. The wet paper is rapidly rolled to nothing and then gracefully display the dollar bill by each end. They will immediately shout, “DO IT AGAIN.” But don’t. To add to the illusion the writer puts a little tobacco in the ends of the cigarette after the bill is inserted. This can also be worked by placing the dummy cigarette in your own cigarette package, if you wish to simplify the operation. However it is not as effective as using a borrowed cigarette and making the switch. Another variation: Pin a safety pin under the right side of yourv jacket with a bobby pin hanging from the pin. This should be hanging where it can easily be reached with the right hand. Insert the bobby pin in your dummy cigarette containing the bill letting it hang just under the jacket so the fingers can grasp it easily.

NOW: Bring the LEFT HAND UP and look at it yourself, thus directing attention to your left hand. Hold your arm extended, at the same time while the audience is watching your left hand secure the cigarette from the bobby pin concealing in the palm of your hand, with the back of your hand toward your audience. As the right hand reaches the left, teach out and apparently grab the cigarette from the air with the right hand. The misdirection is, they have been expecting you to do something with your LEFT HAND and you surprise them by producing the cigarette with your right. From there go on and do the CIG-O-GO.


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Faro Shuffle

- The faro, also known as the weave shuffle is a technique that perfectly interlaces the cards. It is not a false shuffle, but properly speaking a controlled shuffle. An out faro is one which retains the top and bottom cards after the shuffle..an in faro keeps changing the top and bottom cards. If 8 perfect out faros are perfomed, the deck will return to the original order it was in before the shuffles were performed. The shuffle can be made in the hands, or on the table which gives it the appearance of a tabled riffle shuffle. The in the hands method is, by far, the easier of the two and I will describe the method that I use.
- Square the sides and ends of the pack as evenly as possible with both hands. The left thumb and second finger press on the sides of the deck to square while the right thumb and second finger press on the ends of the pack to square them. The forefingers of each hand are curled on top and bottom of the deck respectively.
- The pack is turned on its side so that the left side now faces the performer. The right hand releases its grip while the left fingers assume the following position: At the front end of deck the tip of the left forefinger is placed. The ball of left thumb is slightly above center of deck on the left side. The left second, third and fourth fingers are on the right side of deck with the right side of deck pressing against the first creases of the left second and third fingers while the left fourth finger has its full tip pressing against the side.
- The right hand comes over to cut or break the pack. The left fourth finger moves out of the way so that the side of right second finger comes in contact against the left third finger. The right forefinger is curled on top. While the right second, third and fourth fingers press on the under side of the pack, theright thumb comes over, close to the left thumb and slightly below center, to break the pack exactly at 26.
- Having split the deck, place the two halves against each other at the corners only. Both hands move slightly inwards towards the body causing the packets to assume a slightly angular position.
- The grip of both hands must be firm to prevent any slipping of the cards in either packet. Also, the right forefinger presses down rather firmly on top of its packet causing a slight bow. The corner of the right hand packet is pressed firmly upwards against the corner of the left hand packet. At the same time, the right hand is moved sharply, but slightly, inwards for about aquarter of an inch.
This upward and inward action causes the cards to start weaving.
- The right hand, stillmaintaining its upward pressure, moves its packet forward, easily, to its original position. This forward movement of the right hand packet causes the weave to complete itself. With practise, this upward and inward action of the packets will become very slight, almost unnoticeable.
- Push the packets together and square.


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Tuesday, February 05, 2008

False Shuffle

Any shuffle that leaves the deck in the same order as it was before the shuffle.

A false shuffle at the right time can change a so-so card trick to a miracle. The type of shuffle depends on how much of the deck you're trying to "protect." For example, if somebody chooses a card and you secretly get it to the top of the deck, you probably want to protect the top card's position when you shuffle. For this, you can use an ordinary riffle shuffle. Just remember which hand is holding the cards from the upper half of the deck, and be careful not to release the last of these until all the cards in your other hand have fallen. Obviously you can use the same method to protect a card at the bottom.
When you need to protect a larger number of cards at the top, the overhand shuffle is easier to use. Here's one method: Hold the deck in the usual overhand position (right fingers at the outer end, right thumb at the inner end, cards facing to the right). With your left thumb, pull off a bunch of cards that includes those you want to protect. Lift your right hand and bring it down to the left of the cards in your left hand. Pull off another bunch with your left thumb, and simultaneously grab the first bunch of cards between your right ring (third) finger at the outer end and the base of your right thumb at the inner end. Keep this grip as you lift your right hand for the next pass. You are now holding two bunches in your right hand--one between your second finger and your thumb, the other between your third finger and your thumb.
Shuffle off the cards in the bunch between your second finger and your thumb. Drop the remaining cards onto those in your left hand. That's it. Do it a couple of times. It's easy.

If you use a stacked deck, you need a shuffle that protects the order of the stack. But with many stacks, it doesn't hurt to cut the deck. For example, if thirteen cards are stacked A,2,3,4,5,6,7,8,9,10,J,Q,K, you can cut them as many times as you like and each card will still be 1 higher than the one to its left, with the understanding that A is 1 higher than K.
Here's a shuffle that merely cuts the deck: Hold the cards in your left hand. With your left thumb, push a batch of cards from the top into your right hand. *With your left fingers (not your thumb), push some cards from the bottom of the left cards to the top of the right cards. With your left thumb, push some cards from the top of the left cards to the bottom of the right cards. Repeat from *, moving cards from left top to right bottom and left bottom to right top until the whole deck is in your right hand. If you mention what you're doing (it's probably better not to), don't call it a "shuffle." Call it "mixing" the cards.
Here's another shuffle that does the same thing: It starts off like one of those described above. Hold the deck in the overhand position. With your left thumb, pull off a bunch of cards. Lift your right hand and bring it down to the left of the cards in your left hand. Pull off another bunch with your left thumb, and simultaneously grab the first bunch of cards between your right ring (third) finger at the outer end and the base of your right thumb at the inner end, and lift your right hand for the next pass. Your right hand is now holding one bunch of cards between your second finger and your thumb, and another between your third finger and your thumb. Drop the entire right bunch from your right hand onto the left side of the cards in your left hand. Lift your right hand and bring it down to the right of the cards in your left hand.
With your left thumb, pull off some of the cards in your right hand onto the right side of the cards in your left hand. Finally, lift your right hand and drop its remaining cards to the left of the cards in your left hand.
The last paragraph above describes the action that "cuts" the cards. If instead, you drop all the remaining cards onto the right side of the cards in your left hand, the deck will be in exactly its original order. This shuffle looks a bit skimpy. To pad it out, you can pull a few cards off the right bunch onto the right side of the cards in your left hand. Then bring your right hand over to the left and down, put your left thumb on it, and pretend to pull off some cards. Instead, just let your thumb slide over the cards. Lift the bunch over to the right and pull off a few more onto the right side. Repeat this until you've put all the cards on the right side.
Here's one more overhand shuffle that protects the entire order: With your left thumb, pull off about half the deck and then pull off 6 cards one at a time. Drop the rest of the cards to the left of those in your left hand, but "injog" them about an inch. That is, move your right hand about an inch toward you before dropping the cards so that there's a clearcut "step" between the two halves. Pick up all the cards to the right of the step, pull off 6 cards one at a time, and drop the rest of the cards to the left of those in your left hand.




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False Cut

Any cut that leaves the deck in the same order as it was before
the cut.

Hold the deck by the sides near the ends between the thumb and second finger of each hand. Now pull out about one third of the cards from the bottom and put them on the top but still hold them with the thumb and second finger. With the right third finger lift about half the lower packet, draw the hands quickly apart releasing the top packet which falls on the table resuming its original position. On it drop the packet from the left hand, and on that the right hand packet.



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Greek Shuffle

False Shuffle. Watch your angles.

Here we go: Control the card you want to force to the top of the deck. Undercut about a quarter of the pack and throw it on top holding a break above the force card. Turn over the top card and give it to the spectator instructing him to partially insert it face up somewhere in the middle of the deck. Make sure it goes below the break. Take the deck in the Biddle Grip in your right hand transferring the break to your right thumb. Push the cards below the face-up card backwards with your left index finger while taking the deck in your right hand. Push the section above the break a bit forward with your right hand and grab the face up card and the section above the break at the short end of the deck between your right thumb and index finger and lift it up to show the face-up card at the bottom of this section. Now you have apparently cut the deck at the face-up card, when you've actually cut it at the break.



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Greek Shift

Here we go: Control the card you want to force to the top of the deck. Undercut about a quarter of the pack and throw it on top holding a break above the force card. Turn over the top card and give it to the spectator instructing him to partially insert it face up somewhere in the middle of the deck. Make sure it goes below the break. Take the deck in the Biddle Grip in your right hand transferring the break to your right thumb. Push the cards below the face-up card backwards with your left index finger while taking the deck in your right hand. Push the section above the break a bit forward with your right hand and grab the face up card and the section above the break at the short end of the deck between your right thumb and index finger and lift it up to show the face-up card at the bottom of this section. Now you have apparently cut the deck at the face-up card, when you've actually cut it at the break.




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Turning a false goose in a real goose

During his dream Portal show David Copperfield uses a funny faux-Goose slowed routine for comic effect. After the comedy bit, he put the goose false vacuum in an old wooden bucket has two lids on top. A few seconds later, he pulls the goose back out - but now the fake goose turned into a real goose.

SECRET:
Copperfield uses a bucket that has a wall in the middle, separating the space under the cover of space left under the right lid. When Copperfield calls for a voluntary public to check the bucket, it has left open the lid and the bucket in a manner that requires the volunteer to run his hand along the left wall inside the bucket. The volunteer confirms that the bucket seems to be empty ... but, actually, never touches the hand inside the right - or the wall in the middle of the bucket. Copperfield asked the volunteer to keep the empty bucket. Then he opens the new LEFT lid and place the goose false compartment in the left bucket. A few seconds later, he opened the lid right, and leaves a real goose. The real goose had been hidden in the compartment right bucket throughout.





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The moon maps

If you saw David Copperfield show, you may have been wondering how he did that trick with the Moon Card. Each member of his audience 9 cards received before the show. 8 of them are empty, but one of them has an image of the moon on it. After much careful mixing instructions, David manages to identify the Moon card in the hand of everyone.
Like many of David Copperfield's tricks, the Moon card trick is based on an old standard that many magicians before him have used. It is commonly known as the 21 card trick, as it is usually done with 21 cards instead of 9. David Moon's card is just a simplified version of that thing, because it is only using 9 cards instead of 21, and it does not leave someone chose a map - from the outset, it tells everyone that map chosen is the Moon Card.

You can go round card of 21 at home: Talk to your audience that you can read the mind of anyone ... But that is only a very weak link telepathic, and you can not receive mental images, not complex ideas. The best way to prove it is with a card game (because there are all these beautiful pictures on them.)

Ask a volunteer. Now, tell him that you have a pile of cards (no need to mention exactly 21 cards) and you classify a 3 batteries. Ask him to choose a card, but do not let him tell you which card he is. You just ask him to stack his card is "Keep the cards face up in your hand and take the first card on top, putting on the table. This will stack 1. Now, take the next card and drop it beside the first card. This will stack 2. Take the next card and put it next to the other two. This will stack 3.

Now, take the fourth card, and place it on stilts 1. Take the fifth card and place it on stilts 2. Take the 6th card and place it on stilts 3. In other words, lay down all the cards 3 batteries, setting up a card in each pile, and then starting over 1 battery. Once you've done, ask your pile of volunteerism that is the card in. Then recover all 3 job, but make sure the pile with the card is chosen between the other two batteries. Make sure not an opinion that you are careful to place the pile with the card in the middle of two others when you remove the batteries.

Talk to your volunteers you're not exactly sure yet - it is difficult to focus on the display of the map in his mind so that you can get a clear picture. Tell him to help him concentrate on nothing else but the map, you'll batteries again, and you have to look for his card. Tell him it is easier for you to signal its resolve in mind.

Now again - Keep all cards face up in your hand, enter one on top, be stacked on 1, turn the next card on stilts 2, 3 e map on stilts 3, the fourth card on stilts 1, etc. When you're done, ask them who pile their card is now. (Map May have moved to another cell or even be in the same cell.) Take 3 batteries. And besides, be sure to save the battery with a map between the other two batteries.
Tell him you begin to see a blurred image, and you'll have to make the batteries once again to be sure. Now, for the 3rd and last time ... Take the top card and put it on stilts 1, putting the second card on stilts 2, the third card on stilts 3, the fourth card on a battery, etc. etc.
Ask your audience one last time to tell you that his job card is then pick up all 3 batteries - and still make sure you place the pile with the card chosen in the middle of two other piles as you pick them up. Now all the mysterious act as if you were trying to view the map. Take each card, hold it for a second, then drop it. When you reach the 11th card, hold it and show the public - is the chosen card!

The trick is based on a mathematical principle. By 3 batteries 3 times and always keeping the battery with the card in the middle, you automatically place it in the exact center of 21 cards ... There will be 10 cards before and after 10 cards. The card will always chosen the 11th card. David Copperfield In the case of its map of the 5th, as it did on tour with only 9 cards. So after mixing, there are 4 blank cards before the Moon Card, and 4 blank cards afterwards. PS: You can baffle even more ... Making the case again but when you secretly counting cards at the end, do it while the bridge is face down in your hand. Everything you see is the back of each card, and you can always know which card was picked. (Because all you have to do is count up to 11, regardless of whether the cards face up or face down.)


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Monday, February 04, 2008

Floating Rose

EFFECT
You've probably seen David Copperfield make dancing and paper floating past is in its special issue. You take a piece of paper, giving a shape to it and on your paper floats in the air, it moves well. You can with your hands behind your back! After you take the paper, give it the shape of a rose, magic and roses floating in the air. You set fire to the pink paper and turn it into a real rose!

PREPARATION
You must buy "invisible thread." Take a single strand of wire and attach two pieces of tape, one at each end. On an end wad it into a ball. At the other end, attach to anything. You also need a bit of paper with flash to the pink. You'll need a real rose, concealed in your left pocket and a lighter.

METHOD
First, establish the band balled end of the invisible thread in your mouth. Then make a rose on paper flash. Not back until the wire becomes tight (you can tell because the tape in your mouth begin to emerge). Now, insert the paper is spent on the wire, engaging in a petal, and viola! You are now a floating pink paper! You can move it by simply moving your body. Now for passage. Your body must be straight with the side at the hearing, and the left side of hiding the pink. With your right hand, to achieve a lighter (preferably a Zippo) and light. Bring it under the pink paper, but do not ignite. It is wrong while your left hand takes the real has increased. With roses in hand, the light of flash paper, and bring your left hand up to the same position that the pink paper. The appearance will be that the document was closed transformed into a veritable pink! Take a bow, and throw roses to the public.


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Vanishing The Statue Of Liberty

EFFECT
David Copperfield made the Statue of Liberty disappear.

METHOD
The public can see the Statue of Liberty through the pillars

The curtain comes up then to block the public. The public is the secret of a platform that swiveling turn slowly on the side of the statue. The Statue of Liberty lights are turned off, the blip on the radar is part of a video animation. The curtain is then lowered, the public and the viewers watching television that the statue has disappeared, but they are all looking is a double set of lights, which lies just beside the real Statue of Liberty. The lights on the two towers are there for the night blind audience for a few minutes to make it too difficult to see the Statue of Liberty.

The curtain was then raised the public is again turned round to face the Statue of Liberty the curtain fell and the statue has reappeared.


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Finger Break

Hold the deck in you left hand palm with your pinky against the edge. By lifting off X number of cards off the back edge of the deck with the right thumb you can force the cards to stay separated with your pinky. When you need to lift of those cards or remember the place you can do it without any problems. This move is critical when doing the double-lift and other multiple card maneuvers.


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Walk Through The Great Wall of China

METHOD

When David Copperfield is in the first case, he made a move, Copperfield passes under the box and goes in the trough of stairs, then prevailed in the palm of stairs. One resembles a form of shadow pretends to walk in the first part of the wall, after it plays its part, it enters the hollow core platform. At that time assistance to draw leaves far show that was circulated in the first part of the wall. The staircase which is in Copperfield is behind the camera boom as it makes a complete rotation on the wall. The assistants on the other side of the wall take the same stairs and put it next to another plate.

The assistants climbing stairs and hold up a small white sheet of cloth. It appears that David Copperfield is pushing his face and through the fabric. The secret behind this action is that the person on the right of control is just a false pair of hands that control with his right hand. The person on the left is just pushing a false face through the fabric with his left hand.

The two assistants then drop small sheets of fabric and listen to the wall to see if David is all right. They then slowly rolled sheets to cover the box and make sure it is returned, they go down the stairs to wait Copperfield to make its way through the second part of the wall. Anything that has to do now is to leave the stairs and hollow inside of the box and look at its corners with light. He then approached the light if it looks like he is coming through to the second part of the wall. It takes away the leaves to reveal itself, the white cloth stays on the floor because it contains the accessories.


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Double Undercut

Have about half the deck in both hands, have the spectator replace the chosen card on top of the left hand stock. Place the right hand stock on top, or dribble on top such as to cover the pinky break you will catch above the spectator's card. Square up the cards, and transfer the break to your right thumb. Remove about half of the cards below the break, with your left hand, (kind of a pulling motion, keep right hand still as possible) and cut them to the top (still retaining break, will have to shove the stock underneath your right palm). Cut to the break with your left hand, drop the right hand stock on to the table. Drop the left hand stock on top of the cards on the table. Card has been controlled to the top.


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Glide

- Hold the pack face up in the left hand between the first joint of the thumb on one side and the second joints of the four fingers on the other. Call attention to the bottom card. Turn the pack face downwards and with the tip of the left finger draw the bottom card, back towards the body about 3/4 of an inch. Now with the tip of the right hand second finger draw out the next card, and put it face downwards on the table.

- The glide is simply pulling back a bottom card so that the second to the bottom card is revealed alittle(this is done face-down though, so no-one can see the faces) It is only reaveled for touch. The second to bottom card is the slipped out as if it was the bottom card. (Usually it looks 'the bottom card is shown. then the deck is facedown(no attention drawn to this), then the bottom card is slipped out.(Of course, really the 2nd the bottom is slipped out.)'


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Bottom Charge

Hold as many cards as you are going to change, tip between your 2nd and 3rd finger not letting the audience see them. this can be done by distracting the audience with patter and gliding cards to the left. Put the cards in your right hand (the ones to be changed) in between the left 3rd and 4th finger acting like straightening out the cards while taking out the other cards that are in between your 2nd and 3rd finger.


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Biddle Move

- Hold the deck face up in the right hand between the four fingers and the thumb. The four fingers are at the top edge of the cards ( the edge closest to the audience ) and the thumb is at the inner
edge. Begin sliding cards of the top of the deck ( this is actually the bottom of the deck because it is turned over face up ) with your left thumb. This is basically a dragging action, as you drag the card to your left and the rest of the deck to your right. You are to show the spectators each card as it is slid off the pack. When you slide the selected card off the deck, get a little finger break underneath it.

- So now you have a few cards in your left hand with a little finger break under the top card and the rest of the pack in your other hand. When you move to slide the next card onto the small packet, the selected card ( held by the break ) is secretly added to the bottom of the deck ( which is actually the top). With practice, this becomes real easy to conceal the move.

- You must not hesitate or fumble. It must seem as if you are just sliding another card off the deck. From here you can continue to slide cards off until you reach a desired number of cards.




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Kundalini Rising

Said (by some) to be the best effect Rising map available.

I think Kundalini Rising east Levant card that David Blaine used in his show.

A card game is beaten by your volunteer and cut into two halves. Your volunteer then selects a card from the half-he / she chooses. After memorizing the map, it is replaced, all cards are then returned to the box.

The box is returned to voluntary, after a moment or two, you ask them to relax their grip. As they relax and slowly release their grip, their choice of card starts to rise from the deck, May and jump to the finish!

There are other effects Rising map available in the UK magic suppliers, but I think kundalini Rising is available only to the USA.

There are different ways to achieve the increase card effect, to go around - or create your own!


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